Alias, Episode Reviews, TV

ALIAS 3×15: ‘Facade’ (TV Review)

When ABC laid down the edict midway through Alias’ second season that the series needed to become less impenetrable to audiences, Facade in many respects feels the closest the series has yet come to providing the show the network perhaps wanted it to be.

Facade, barring one or two continuing narrative aspects, character beats and story ideas, is perhaps the most truly stand-alone episode of Alias yet. It is also, in many ways, certainly one of the best episodes of the third season, if not the entire series. It links to Season Three’s arch villains the Covenant, and ties directly back to a small dangling thread from Full Disclosure, but Facade is the first experiment with crafting a contained, focused narrative that could be watched independently of understanding the myriad amount of complex mythology and character stories Alias is built upon. In narrative construction, it also owes the biggest debt to date to one of the series’ primary influences: the 1960s iconic spy series Mission: Impossible.

Why now? Why create an episode like this as the show enters the last third of a season?

Though the primary reason is to build an episode around the special guest star of the week, Ricky Gervais, there is also a strange logic to Facade’s placement at this stage in Alias. It would have worked in the fourth season, a year which embraces stand-alone storytelling intentionally in the first half of the season, but Facade also exists within the strange nether-space of Alias between two distinct stages of the series’ mythology: the Prophecy and the Passenger. After Six and Blowback certainly advanced the duality inherent in the dynamics of Syd/Vaughn, Sark/Lauren, but from a narrative perspective they advance nothing of importance. Lauren doesn’t even feature in this episode at all. Alias is in a holding pattern that only starts to shift from Taken, next time, onwards.

In the third season, there is no better place for Facade. It exists almost independently of many of the plot lines and character stories around it. Maybe, in the strangest of ways, that’s a major reason why it works so well.

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Film, Partisan Cinema

Partisan Cinema: INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008) – Better Dead Than Red!

In a recurring feature called Partisan Cinema, we look at movies from a political slant, gleaning insight from them about how they relate to society then, and indeed now…

Politics and Indiana Jones have always gone hand in hand, despite the series being the epitome of adventure serial derring do extrapolated for a modern blockbuster audience.

Raiders of the Lost Ark and Last Crusade both featured Nazi villains in advance of the Second World War, seeking supernatural arcanum to help win a conflict they had yet to start. In the latter, Harrison Ford’s hero Indy even comes face to face with Adolf Hitler himself, amidst a terrifying Nazi rally in the burning cauldron of 1938 Berlin. While the films avoided any significant political commentary, opting instead for action, spectacle and mystery, the ideological differences between the Allied and Axis worlds were clear. The Nazis were grave robbing parasites determined to pillage history for their own pure blood gain, while Dr. Jones represented a noble America, a land of heroic saviours of antiquity.

“It belongs in a museum!” Indy would bark at corrupt inversions of himself. “So do you!” they would bark back, perhaps presaging his own irrelevance.

Steven Spielberg is not a creative who ignores history, or whitewashes truth. He has given us some of the more pointed political tracts about WW2 and the echoes of that conflict of the last fifty years. His Indiana Jones pictures are nevertheless simpler, designed first and foremost to entertain rather than convey polemic. Temple of Doom, the middle child film between two masterpieces, paints a picture of the British as colonial saviours in pre-partition India, saving poor locals from the murderous Thuggee cult. This is a pleasant fiction and one many audiences can accept, particularly American ones. Yet the most recent film in the series, Kingdom of the Crystal Skull, wears its politics more clearly, befitting perhaps its arrival in a more polarised era, in the shadow of a Great Recession, as opposed to the bombast of blockbuster Reaganite excess the original trilogy embodied in the 1980s.

Here, set toward the end of the ‘50s, Indy is painted as a suspected Communist as, for the first time in the series, the existential threat comes home.

Continue reading “Partisan Cinema: INDIANA JONES AND THE KINGDOM OF THE CRYSTAL SKULL (2008) – Better Dead Than Red!”